Diane Durston will be speaking on Wednesday, October 28, 2009 at the International House of Japan. Her talk is entitled “Bringing Old Kyoto Home: Author Re-invents Japan in a Pacific Northwest Garden.” She will talk about preservation of Kyoto historic buildings (Kyo-machiya and machinami), and how she has brought Japanese craft and culture to a wide variety of United States forums and audiences.
Diane is currently the Curator of Art, Culture and Educator at the Portland Japanese Garden, the finest Japanese garden in North America. She is the author Diane of many books and articles, including Old Kyoto, in print since 1986 and the current second edition with a forward by Donald Richie. Previously she worked with the Metropolitan Museum of Art, the National Gallery of Art in Washington, the Whitney Museum, Yale, and the University of Pennsylvania.
You can reserve online a seat for the talk at: http://www.swet.jp/index.php/events/october_28_bringing_home_old_kyoto/
I am struck by how poorly maintained and under-used many of the residential neighborhood parks are. This one, close to where I live, is large, has many mature trees facing the street, and has almost no usage. To call it uninviting and unloved would be an understatement.
The street side is almost promising. There is a long row of mature trees and a community bulletin board. Next to the bulletin board, and also on the far end of the park, are designated areas to leave your trash. Unfortunately, there is no receptacle for the bagged garbage, so crows and cats pick through the bags and the contents start to disperse.
The entrance to the park reveals vast areas of gravel, unplanted beds, and few amenities or attractions. The size of the park only underscores the waste of so much public space going unused. Given how avidly neighbors tend to their tiny gardens and occupy small strips of public space, why are local governments unable to harness this human resource for beautifying and maintaining public space?
I can imagine many other uses for the park: community vegetable gardens, flower contests, rice field, bee hives, food stand, children’s play area, public art-making space. Given limits to local government budgets, maybe there would be a way to attract corporate sponsors and neighborhood volunteers. If more people were attracted to enter the park, I am sure it would be cleaner and more inviting.
After the jump is a photo inventory of the current park assets, mostly aging structures with a surprising amount of trash. During my visit I noticed a small garden crew and two people on a bench.
Leaving Ginza Farm, I spotted a famous Ginza institution, the Shiroi Bara or White Rose cafe in an ancient brick building. Between Ginza Farm and the undulating de Beers building on Kazutou Street, just off Chuo Street, the White Rose dates from 1931, the early rise of Ginza, and is associated with the writers Nagai Kafū and Kikuchi Kan and the 2-26 coup attempt in 1936. Given how little history is preserved in Tokyo, it is amazing that this cabaret remains in business full of retro charm.
(Note: Top photo by weblog244, shared on Flickr through Creative Commons)
The Echigo Tsumari or Niigata Art Triennial was our last stop, and it, too, reflected the themes of history in landscape and rural revitalization. We visited a small portion of the 350 sites, mostly abandoned houses and schools, spread out in several hillside villages. This two month features world-class international art, much of it conceptual, and draws audiences from around Japan and the world.
The above sculpture, using local river-harvested drift wood and washed out neon colors, represents the last three students in an old school started in the Edo period. The oldest parts of the building have been opened to show the mud and bamboo walls below the plaster and paint. With only the very elderly still living in these towns, new and modern buildings that once provided education and shelter are now abandoned. These spaces provide an over-abundance of space for art, and much of it is haunting.
The school above was created only thirty years ago, and was closed nineteen years after opening. It seems to be on the verge of being reclaimed by the forest. For the Triennial, French artists Christian Boltanski and Jean Kalman turned the interior was turned into a theatrical, high art haunted house recalling the school and amplifying the gloom. Visitors enter a pitch black auditorium, covered in hay, with benches and fans. There are hallways with dark mirror windows, the sound of a heart beat, and a room full of what appear to be plexiglass coffins.
Juxtaposed with the gloom were many playful and surreal art works. Below is an outdoor grasshopper sculpture that moves as water fills the heads and cables connecting to indoor sculptures raise and shake dozens of wood puppets.
It was fun to experience the artwork and the environment with the young Nodai students. Many of them are from the countryside, and their interest and confusion in the art was palpable.
See below for more Niigata Art Triennial photos, including abandoned houses, fields, art and stories.
Traditional Japanese garden Kyu Shiba Rikyu dates to 1678 when land reclaimed from Tokyo Bay became the residence of Okugawa Tadatamo, an official of Tokugawa Shogunate. Kyu Shiba Rikyu is one of Tokyo’s oldest gardens, along with Koishikawa Korakuen. Kyu Shiba Rikyu was destroyed by fire in the 1923 earthquake, rebuilt and gifted by the Emperor as a city park.
Today this stroll garden with a focal pond and two small islands sits steps from Hamamatsuchou station, and surrounded by office buildings, bullet trains, the JR Yamanote line, a monorail, elevated train, and two elevated highways. The pond reflects manicured black pines, office towers and billboards. There is also a very elegant archery range with grass lawn, tatami seating area, and targets inked by hand. (See photos after the jump below).
The pond and island were created over 400 years ago to recall China’s Seiko Lake (Xi Hu) and Reizan sacred mountain in Hangzhou (Zhejiang). Like at Koishikawa Korakuen, Kyu Shiba Rikyu was created at a time when garden design, philosophy, literature, and painting all borrowed heavily from China. Given our last century’s conflicts between Japan and China, is it too much to hope for artistic borrowings in this century?
A wonderful garden diplomacy would be a photographic exploration of these 400 year old Japanese gardens and the Chinese landscapes that inspired them. How have the natural and designed environments changed? What contemporary landscapes could inspire today’s art exchanges?
What do you think of animals as garden ornaments? It seems that the desire to populate urban areas with animals goes hand-in-hand with cultivating plants. Does it add to urban life or detract?
A sustainability entrepreneur friend recently told me how much he dislikes the “clutter” and bad taste of old ladies using styrofoam planters for street pots. I imagine he would take a similarly dim view of animal ornaments.
There is a sometimes ambiguous line between trash and art, the living and the never animate. I wonder if the garden animals are dissimilar from the public space plants: a way to take ownership of the street, to make public space personal, “alive,” and magical. They can also be chaotic or unattractive.
Below is a statue of “tanoki,” a popular if somewhat obscene racoon figure of myth. I like how he is accompanied by a duck, elephant, dog, elf, two smaller tanokis, and a white picket fence.
Beijing-based American artist Rania Ho hosted an open-house “live” event in Yokohama. During a two month artist-in-residency, sponsored by Far East Contemporaries, Rania created the Vegetable Liberation Project, a “re-farming” that asks questions about urban life, food culture, nature and artifice.
Rania describes the Vegetable Liberation Project as “a work that addresses the oppression of highly conforming supermarket produce by releasing the vegetables back into the wild public spaces around Yokohama and allowing them to naturally revert to their untamed primal state.”